{"id":15836,"date":"2008-04-04T11:00:00","date_gmt":"2008-04-04T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/the-stone-roses-madchester-swagger-in-four-players\/"},"modified":"2026-09-26T23:14:11","modified_gmt":"2026-09-26T21:14:11","slug":"the-stone-roses-madchester-swagger-in-four-players","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/the-stone-roses-madchester-swagger-in-four-players\/","title":{"rendered":"The Stone Roses – La swagger Madchester en quatre musiciens"},"content":{"rendered":"

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Manchester, 1989 : les guitares cristallines de Squire, le swing de Reni, le drawl de Brown, et un premier album qui a rec\u00e2bl\u00e9 l’indie<\/h3>\n

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The Stone Roses ont r\u00e9alis\u00e9 l’un des premiers albums les plus comment\u00e9s de l’histoire du rock britannique, puis ont pass\u00e9 cinq ans largement absents avant de revenir avec quelque chose de si diff\u00e9rent que cela sonnait comme un autre groupe. Ce contraste les d\u00e9finit autant que le disque qui les a rendus c\u00e9l\u00e8bres.<\/p>\n

Ian Brown, John Squire, Gary \u00ab\u00a0Mani\u00a0\u00bb Mounfield et Alan \u00ab\u00a0Reni\u00a0\u00bb Wren se retrouvent \u00e0 Manchester au milieu des ann\u00e9es 80 \u00e0 travers la combinaison habituelle d’amiti\u00e9s scolaires et d’insatisfaction mutuelle face \u00e0 ce que les groupes de guitare faisaient. Manchester produit alors The Smiths et l’h\u00e9ritage de Joy Division, le projet de culture alternative d\u00e9termin\u00e9 de Factory Records, et les nuits acid house de la Hacienda. The Stone Roses pr\u00eatent attention \u00e0 tout cela, ainsi qu’aux Byrds, \u00e0 la p\u00e9riode psych\u00e9d\u00e9lique des Beatles et au Jimi Hendrix Experience \u2014 un ensemble de r\u00e9f\u00e9rences \u00e9clectiques que leurs premiers disques absorbent avec une fluidit\u00e9 inhabituelle.<\/p>\n

The Stone Roses (Silvertone, 1989) fonctionne parce qu’il synth\u00e9tise plut\u00f4t qu’il ne copie. L’approche guitare de Squire est construite sur les formes d’accords ouverts et cristallins de George Harrison et le jangle douze-cordes des Byrds, mais pos\u00e9e sur des rythmes ayant assez absorb\u00e9 la musique de club pour faire bouger l’ensemble diff\u00e9remment de l’indie ordinaire. La batterie de Reni est la r\u00e9v\u00e9lation technique du disque \u2014 un swing nourri de jazz sous une surface de groupe de guitare, pr\u00e9cis et propulsif sans jamais perdre le groove. La basse de Mani travaille avec la grosse caisse plut\u00f4t que contre elle, portant la logique dancefloor que l’\u00e8re acid house avait grav\u00e9e dans la conscience manchesterienne. Les voix de Brown sont d\u00e9lib\u00e9r\u00e9ment nasales et d\u00e9li\u00e9es, un drawl pos\u00e9 sur la musique plut\u00f4t qu’il ne la conduit ; l’effet est plus swagger que chant.<\/p>\n

\u00ab\u00a0I Wanna Be Adored\u00a0\u00bb s’ouvre avec la basse seule, sans pr\u00e9cipitation, avant que la guitare de Squire entre en r\u00e9sonnant sur un groove r\u00e9gulier. \u00ab\u00a0She Bangs the Drums\u00a0\u00bb est une pop m\u00e9lodique avec un rythme suffisamment sophistiqu\u00e9 pour le dancefloor. \u00ab\u00a0Waterfall\u00a0\u00bb et \u00ab\u00a0Elizabeth My Dear\u00a0\u00bb montrent l’amplitude : la premi\u00e8re circulaire et hypnotique, la seconde une provocation acoustique de trente secondes sur l’air de Scarborough Fair. \u00ab\u00a0I Am the Resurrection\u00a0\u00bb ferme l’ordre de lecture original par un fondu de douze minutes qui passe de la chanson \u00e0 l’exercice instrumental sans perdre le fil. Le s\u00e9quen\u00e7age n’\u00e9tait pas accidentel \u2014 l’album monte de l’invitation \u00e0 l’euphorie puis \u00e0 la dissolution.<\/p>\n

La r\u00e9putation live du groupe en 1989 et 1990 \u00e9tait substantielle. Le concert de Spike Island en mai 1990, rassemblant environ 27 000 personnes sur un site industriel chimique en dehors de Widnes, est devenu un point de r\u00e9f\u00e9rence g\u00e9n\u00e9rationnel m\u00eame pour ceux qui n’y \u00e9taient pas. Les singles \u00e9largissent la palette : \u00ab\u00a0Fool’s Gold\u00a0\u00bb avec son groove funk \u00e9tendu et sa guitare wah, \u00ab\u00a0One Love\u00a0\u00bb avec son sous-courant dub, montrent un groupe qui \u00e9coute James Brown et le hip-hop aussi s\u00e9rieusement que les Byrds. Les singles se situaient entre le monde des groupes de guitare et le monde du club d’une fa\u00e7on que ni l’un ni l’autre ne revendiquait pleinement.<\/p>\n

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Puis la bataille juridique avec Silvertone Records, une injonction les emp\u00eachant de sortir du nouveau mat\u00e9riel pendant deux ans, et des retards accumul\u00e9s ralentissent tout. Second Coming arrive en 1994, cinq ans apr\u00e8s le premier album, avec une r\u00e9ception divis\u00e9e. Le blues rock lourd de \u00ab\u00a0Breaking into Heaven\u00a0\u00bb, \u00ab\u00a0Ten Storey Love Song\u00a0\u00bb et \u00ab\u00a0Love Spreads\u00a0\u00bb d\u00e9route les auditeurs qui attendaient quelque chose qui rime avec 1989. Squire avait pass\u00e9 les ann\u00e9es interm\u00e9diaires absorb\u00e9 par Led Zeppelin et avait d\u00e9plac\u00e9 substantiellement le centre de gravit\u00e9 guitare du groupe. La voix de Brown, mieux adapt\u00e9e au mat\u00e9riel plus libre, sonne plus tendue sur les titres plus lourds. Second Coming n’est pas un mauvais disque, mais ce n’est pas une continuation du premier album \u2014 c’est un argument diff\u00e9rent fait par des musiciens qui avaient \u00e9volu\u00e9 dans des directions diff\u00e9rentes pendant l’absence.<\/p>\n

Squire part en 1996 ; Reni \u00e9tait d\u00e9j\u00e0 parti. Brown poursuit une carri\u00e8re solo qui trouve son public sans trouver un accord critique large avec la r\u00e9putation du premier album. La r\u00e9union de 2011 ram\u00e8ne la formation classique pour des spectacles de stade avec des ventes de billets importantes ; \u00ab\u00a0All for One\u00a0\u00bb (2016) arrive sans faire avancer substantiellement la conversation critique.<\/p>\n

Les influences tra\u00e7ables dans le premier album m\u00e9ritent d’\u00eatre nomm\u00e9es. Le principe m\u00e9lodique des Byrds sans n\u00e9cessairement le douze-cordes. La confiance structurelle des Beatles. L’approche de George Harrison de la guitare comme m\u00e9lodie plut\u00f4t que rythme. Le vocabulaire rythmique de l’acid house op\u00e9rant sous ce qui ressemblait \u00e0 une surface de groupe de guitare \u2014 les Stone Roses \u00e9taient un groupe de club qui n’en avait pas l’air, ce qui explique pourquoi \u00ab\u00a0Fool’s Gold\u00a0\u00bb \u00e9tait surprenant m\u00eame pour les auditeurs qui avaient ador\u00e9 l’album.<\/p>\n

Portes d’entr\u00e9e : le premier album dans l’ordre, parce que le s\u00e9quen\u00e7age a son importance. Il monte d'\u00a0\u00bbI Wanna Be Adored\u00a0\u00bb \u00e0 \u00ab\u00a0I Am the Resurrection\u00a0\u00bb avec intention et r\u00e9compense l’\u00e9coute compl\u00e8te. Ajoutez \u00ab\u00a0Fool’s Gold\u00a0\u00bb, \u00ab\u00a0One Love\u00a0\u00bb et \u00ab\u00a0Elephant Stone\u00a0\u00bb pour le tableau des singles. Second Coming pour le chapitre plus dur, abord\u00e9 comme un document s\u00e9par\u00e9 plut\u00f4t qu’une suite. Le premier album tient parce qu’il \u00e9tait genuinement nouveau en 1989, et la synth\u00e8se qu’il repr\u00e9sente sonne encore suffisamment sp\u00e9cifique pour \u00eatre sa propre chose trois d\u00e9cennies plus tard.<\/p>\n

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Ian Brown, John Squire, Gary \u00ab\u00a0Mani\u00a0\u00bb Mounfield et Alan \u00ab\u00a0Reni\u00a0\u00bb Wren ont form\\u00e9 The Stone Roses \\u00e0 Manchester au milieu des ann\\u00e9es 80 et transform\\u00e9 un premier album Silvertone en monument de Madchester.<\/p>\n","protected":false},"author":1,"featured_media":15816,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[311,1002],"class_list":["post-15836","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-alternative-indie-punk-fr","tag-the-stone-roses-fr"],"yoast_head":"\nThe Stone Roses - La swagger Madchester en quatre musiciens - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/the-stone-roses-madchester-swagger-in-four-players\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Stone Roses - 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